"Children of Paradise" (French Film Cycle)

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THE MUSEUM OF MODERN ART 11 WEST 53 STREET. NEW YORK 19, N. Y. TELEPHONE: CIRCLE S-tfOO FOB RELEASE Sunday, September 1, 1957 No. 83 CHILDREN OP PARADISE AT MUSEUM OP MODERN ART The full-length Lee Enfant8 du Paradis (Children of Paradise), never before seen in the United States, will be released September 1 - 3 at the Museum of Modern Art, 11 West 53 Street. There will be one daily showing only at 3 p.m. Known as "France's most ambitious picture" and "the French answer to Gone With the Wind," Les Enfants was shown here in 19^6 in an abridged version more than an hour shorter than the Museum's print, the same now being shown throughout Europe. It was made at enormous cost, hazardously and more or less in secret, during the German occupation (duplicate finished negatives in disguised containers were hidden in widely separated places). A spectacular and extravagant film set in mid-century Paris, it deals in epic fashion with the world of carnivals - clowns, tragedians, patrons, thieves, the high and low born - the world of Daumier, Toulouse-Lautrec and Dumas. Directed by Marcel Carne" from a script by Jacques Prevert, the film features T-en-^ouis Barrauft in an lager sonation of the famous mime, Baptiste Deburau; Pierre ;rescuer as FredeVic Lemaftre, the posturing matinee idol; and Arletty as a grlsette, wloved by both men. Les BnfMtti (19^3-5) is the current film in the Museum's summer series, "60 Years * French Film." No English titles. LA LIBERATION DE PARIS AND LE RETOUR I^e September k - 7 screening at the Museum of Modern Art will be La Liberation de Paris, (19^), intimate newsreel footage edited by Roger Mercanton, and Le Retour (j-9^5), Henri Cartier-Bresson' • famous film of the liberation* Le Betour, called "the greatest human document to come out of the war," is an almost intolerably moving film of the liberation of French prisoners of war from Sazi concentration camps, their march through the shattered Reich, and the return to their homes. There will be two showings daily at 3 and 5:30, with an evening program Thursday, 'eptember 5 at 8, in connection with the Museum's late Thursday closing, 10 p.m. ^ P *Vl-' further information please contact Herbert Bronstein, Assistant Publicity &«rector, Museum of Modern Art, 11 West 53 Street, New York, New York. Circle 5-8900. \ .
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  • Playing in Les Enfants Du Paradis
    Shakespeare on Screen in Francophonia “I am not what I am”: Othello and Role- playing in Les Enfants du Paradis Melissa CROTEAU 1 Marcel Carné and Jacques Prévert’s cinematic masterpiece Les Enfants du paradis [Children of Paradise] (1945) is a film about theatre. It also is a film that may not have been made if it were not for the unusual and precarious situation of Occupied France during World War II. As it happened, Carné, the master of poetic realism, was forbidden by the occupying German forces to make films focusing on the present state of affairs in his besieged nation. As Ben McCann avers, during the Occupation, “Realism — poetic, social, magical or otherwise — was out”. 1 Therefore, Carné’s two wartime films — Les Visiteurs du soir [The Devil’s Envoys] (1942) and Les Enfants du paradis — were set in France’s past. This film about the ineluctable convergence of art and life is set in Paris in the 1820s on the Boulevard du Temple, which, by 1827, the year the film opens, had come to be known as the Boulevard du Crime [Crime Street], where all walks of life thronged to find diverse entertainments, from carnival acts to “respectable” theatre. French film scholar Edward Baron Turk explains that the famed Boulevard du Crime earned its moniker “because of the sinister deeds that were standard ingredients of the stage melodramas then the rage”. 2 It is apropos to the film that the Boulevard du Crime was not named for real crimes committed by thieves against Parisian citizens; rather, the street of myriad diversions is named for the fictional assaults perpetrated by actors upon other actors, all displayed on a stage.
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